mercer

But seriously, I get it... That is a pretty lens. I have a few I worry about too. 

It doesn't make any sense for an A7rII to be used in this sort of capacity. In addition, the C100 has been out for longer than both the FS7 and FS5. The FS7 is gaining more and more traction every day.
Keep in mind that the NFL were shooting film up until only a few years ago. If you like what you have, and it's reliable and works for you, what incentive is there to change? Plenty of prodcos and owner/operators who bought C100/300s when they came out that see no reason to switch. That doesn't mean something like an FS5 or FS7 isn't just as good a camera. In addition, it's an effort to change from one ecosystem to another, which means unless it's vital to you staying competitive, why would you go to all the trouble to change ecosystems?
C100/300 is a great little camera. So is the FS7 and FS5. Both have their places, and serve their purposes. I hired F55s and F5s for a project I was shooting recently. I didn't want to hire C300s or C500s. Different projects, different people, different needs. Use what works for you and your project. Nothing is gained from camera or brand-bashing. Except you preclude yourself from using a potentially superior product based purely on some zealous brand loyalty.

I still like standard -5/-5/-5/-5, but might give you guys suggestions a try.

Sounds like lots of people really want an updated Pocket Camera with LP-E6 batteries and 60p...
Actually, somewhere on the internet there's a guy who showed that you can use a servo tester for RC planes to make your own controller for the BMMCC (like this). You get 4 channels of analog PWM controls with the expansion port, and if you attach a servo tester to each channel you'll have direct control over each of those settings. Add a LANC pistol grip and you're almost there with what you have in mind.
In fact, you can take the composite video out and send that signal to a little LCD that takes composite, and you can do it all with just the expansion port (Composite out, 4 x PWM channels, and LANC). Find a mechanical engineer friend who has a 3D printer and away you go!
Though having shot the BMMCC for a month now I don't know that I really, really needed anything like that (definitely a "nice to have" rather than a "need to have"). Though I built my micro camera into a camcorder style that's bigger than the GH4 it replaced, because I found that I needed the weight balanced rather than the smallest possible package. It's hard to beat the original Pocket Camera for size if you really need to get under the radar.

Maybe you just found your new shooting style... Infinity focus all of your shots and then wrap it in bubble wrap. No need to touch it. 

The Angenieux are old 16mm film camera lenses from the 60s. I haven't shot with them yet, because I just ordered them, but from what I've seen online, they seem to be a little soft and dreamy wide open, but sharp enough stopped down a little... With an innate filmic look to them on the BMPCC and BMMCC. If you're looking for tack sharp lenses, then they probably aren't a good choice for you... If you're looking for softish lenses with character and a filmic look... Then they might be something you might like. Check out the c mount lens thread under blackmagic cameras for other options and there has recently been a few posts with c mount lenses under the lenses section as well.

Just got the Meopta 20mm c-mount lens in the mail, so I used it in a scene on a short I'm working on. 
 

I was actually out scouting locations when I found this old, abandoned cabin in the woods. For handheld and wide open... I am digging this lens. I think stopped down a notch or two and she will really shine. 

Maybe you just found your new shooting style... Infinity focus all of your shots and then wrap it in bubble wrap. No need to touch it. 

Maybe you just found your new shooting style... Infinity focus all of your shots and then wrap it in bubble wrap. No need to touch it. 

Maybe you just found your new shooting style... Infinity focus all of your shots and then wrap it in bubble wrap. No need to touch it. 

Yeah, it's very captivating. I really like your music choice. It feels like the opening credit sequence to a sci-fi thriller with a visual mixture of nebulous matter and alien dna. Nice job. 

Hi
So I borrowed a 100mm macro lens from a friend and experimented with acrylic colors, milk, water, oil and soap..
Shot it with my GH4, held by my precious gorilla pod and lots of duct tape!  
I have now entered my video into a contest.
If you like it, I would be really really happy, if you'd give it a vote and maybe even share
https://apps.facebook.com/dvxvideocontest/?video=16
Thanks!
 
 
 
 
 

Yes it included a Bolex, that I used the other day for my next D16 review

No there is no need for IR Cut on the D16. 

I buy my from ebay as well. As always one needs to look around and not just at the top of the list. I'm making a "how to buy cheap on eBay" after I've bought the once I have my eyes on

It would be great... of course I cannot spend a lot, because I'm on a budget, but I could spend something at least for a couple of lenses  

The lenses I use are the 28/3.5, 35/2.8, 50/1,4, 85/1.7 and 135/2.8
These lenses work as they should. There are only minor problems : 
- On the 85/1,7 (MC version), the aperture sometimes gets "stuck" when you close it. You just have to rock the DOF preview switch (on the lens) to unblock the aperture.
- On the 135/2.8, the aperture is stuck @ 2.8.
These aperture problems however can be fixed by removing a millimeter from the aperture pin on the lens, and is quite easy to do. I didn"t do it yet, as I still use my lenses with minolta SLRs and don't want to modify my lenses (yet).
I already shot basic tests of the lenses but haven't got to edit yet. Only the 28mm is visible here : 
 

A little off topic, but I am looking at a couple AT-X lenses... Which ones do you have? I'll also pick up a Turbo II as well, so this topic came up at the perfect time. 
I also have a few MInolta lenses. And am looking at the Turbo II. Which lenses do you use with yours and have you noticed that the turbo looks better with certain lenses?

I'm really damn impressed with the Switar 16mm wide open (f/1.8).

Tested out a couple of c-mount lenses I got for the BMPCC. I also wanted to test out some natural and artificial lighting set-ups.

Kern-Paillard Switar 16mm f/1.8 AR

Cosmicar 12.5mm f/1.8 (modified)
I'm pretty damn pleased with these lenses. My Rokinons were good lenses, but didn't quite have the character I was looking for. Both shots were f/2.8, 800iso, ProresHQ.
And for fun, a modified Cosmicar 6.5mm f/1.8 (at f/4):

I like ultra-wide lenses for a surreal feel.

Honestly, this is probably the biggest reason for you to go with a Mac and FCPX. The auto synching feature with FCPX is nothing short miraculous. The lightning speed and accuracy blows me away every time I use it. 

Excited to hear you went back to the D16. After using the BMMCC for the past couple weeks, I have a new appreciation for cameras that shoot Raw, and ProRes, and I'm unsure if I can ever go back to an 8 bit camera again. But then again I am probably over stating because I love my new toy/tool. Anyway, I look forward to some D16 footage. 

Have only had my new D16 for a few hours and shot just to make sure it works.
But damn.. The iso 800 looks pretty darn OK to my eye... Need more testing though.
Feels nice to have CCD on both stills and video.

Or EF-M mount. You can get a c- mount adapter on that. Only 17mm flange distance iirc.

Yes, I've combined both. I also feel like I've read that Pro Res is a bit less prone to moire than RAW. It's pretty bad in RAW on wider architecture shots. I'm used to shooting with the GH2/GH4, so having to account for moire all of a sudden is annoying. Don't know if that's a fact, though.
Yes, always ISO 800 with pro res. Maximum amount of dynamic range, according to this: http://www.similaar.com/foto/pocket-dr/bmpcc.html

After using the BMPCC for a while, I still go back and forth on RAW and Pro Res. 
RAW is of course, fantastic. But I do think the Pro Res is underrated, and the workflow is such a delight.